Fans pick 100 books like Flags of Our Fathers

This is a World War II memoir by United States Marine Eugene Sledge, first published in 1981. 

It is a powerful depiction of war, honest and authentic, describing what it was like to fight in some of the fiercest battles of World War II. The writing is vivid and gripping, sometimes humorous, but mostly reflective of the horrors of war. There is a very refreshing “non-commercial” tone to the narrative.

Sledge originally wrote this as a private memoir for his immediate family, a way to finally tell them what he could never verbalize in person. Sledge’s passion comes through on every page, a reminder that the best books come from the heart.  

Imagine being the son of the most legendary US Marine of all time? Think those are huge boots to fill?

Lewis B. Puller, Jr.’s father is Lieutenant General “Chesty” Puller – recipient of five Navy Crosses and one Distinguished Service Cross, making him the most decorated marine in history. Puller Jr.’s Pulitzer Prize-winning memoir chronicles his service as a marine lieutenant in Vietnam attempting to fill his father’s enormous shoes. But Junior arrives home early missing both legs, most of his left hand, and a thumb and finger on his right hand after tripping a booby-trapped mine.

Fortunate Son tells the story of a broken man returning to his family, and high-profile legendary father, to attempt to put together the pieces.  

I came to the piano as an adult and felt pretty sorry for myself–how am I supposed to do all this torturous practicing before and after work?

Then I read Zhu Xiao-Mei’s account of studying the piano during the Cultural Revolution, and realized what real commitment looks like. Zhu is a brilliant concert pianist who had to master Bach while practicing in a labor camp freezer. Read this tragi-comedy of China, politics, and Bach, and surmount your (room-temperature) challenges.

Hidden from the English-speaking world for more than 50 years, this panoramic novel begins with the Red Army invasion of Belarus in 1939. Ivan Kulik has just become headmaster of school number 7 in Hlaby, a rural village in the Marsh of Pinsk. Through his eyes, I witnessed the tragedy of Stalinist domination where people are oppressed, randomly deported to labor camps, or tortured in Zovty Prison in Pinsk.

The author’s individual gift that sets him apart from his contemporaries is the range of his sympathies and his unromantic, unsentimental approach to the sensual lives of women. His debt to Chekhov is obvious in his ability to capture the internal drama of his characters with psychological conciseness.

This historical novel serves as a stern warning against adopting socialism in America.

At last, a book about photography! And one that is arguably the best from which to learn to see, Szarkowski, the legendary curator who worked at the Museum from 1962 to 1991, has published many influential books. But none more radically and succinctly demonstrates why - as U.S. News & World Report put it in 1990 - his thinking about photography "has become our thinking about photography".

Look and look and look. Keep it on your bedside table. It will be your friend. Learn from it – about composition, about story, about the many ways that one can see. Whether you take a photograph or not, you will learn that ineffable thing that can’t be taught but which can be inspired: how to see. Enjoy!

Antarctica is the one continent I have never taken a photograph in. It has barely changed in the past 100 years, but Hurley’s images still take me to an unknown world and how people have struggled to survive there.

I love the way he can capture the majesty of a landscape that is mostly just one colour and how his photographs give a sense of the puny humans grappling with the harshness of the environment.

Miller was one of the great combat photographers of WWII, but she also documented the social consequences of the conflict, particularly the lives of women on the European front. She would also write about what she saw for British Vogue. She photographed Martha Gellhorn in London in 1943 as part of a series about women correspondents. 

In addition to an introduction by Miller’s son, Antony Penrose, Roberts provides insightful commentary that places each image within the context of women’s roles throughout the landscape of war.

As a kid, I wanted to be Lauren Bacall when I grew up. I watched To Have and Have Not almost weekly, emulating her sultry moves as “Slim” and wishing that I too could one day undermine the Nazis in a little black dress.  

I don’t regret my choice of teenage role model, but I do wish I had known about Lee Miller back then, who would have offered a real-life example of a femme fatale fighting for good with her talents. However, rather than grit and charm, Miller used her camera to expose the true cost of fascism. 

Carolyn Burke's biography takes us on an extraordinary journey through Miller’s life—from her days as a model to her work as a war correspondent. Miller had an uncanny ability to connect with the subjects of her photographs, creating a bridge between their world and ours.

During World War II, Miller’s work… show more.

No other magazine ever burst upon the national scene with as much financial and editorial force as Life, founded by Henry Luce in 1936 to exploit the new technology of high-shutter-speed cameras that could capture events and activities like never before. Luce’s vision (actually, it came initially from his future wife, Clare Boothe Luce) was to stir the human spirit with photos of sports stars in action, the magnitude of huge structures such as the Grand Coulee Dam, a baby being born, the agony of war. With such photography mixed with probing and discursive long-form journalism, Luce transformed American magazine journalism--and got very, very rich in the process.

When the Hungarian-French photographer Brassai arrived in Paris in 1924, he taught himself French by reading Proust. As a photographer, he was fascinated by a similarity between his own impulse to make pictures and how the novelist used the photographic process as a metaphor for establishing or obscuring his character’s inner and outer worlds, as if both he and Proust were developing images in their respective darkrooms. Proust, Brassai saw, “used his own body as an ultra-sensitive plate, managing to capture and register thousands of impressions.” He was like a reporter with a camera—sometimes a portraitist, a landscapist, and, “sometimes Proust rivals the paparazzi.”